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Imperfection Concepts like art and life have to be mixed with one another because there is no need for keeping a distance between the work of humans and human itself. The art of life is a form (creative energy - sexual) Who would have thought that? The most fascinating art is one it talks about life that unravels various experiences, recollects details, curiosities, viewpoints.

In the realm of life, it is essential to reject the idea of a perfectionism that can be reached (in order to respond to such expectations The only art we could refer to is the cinema). Failure is the hallmark of being Human, the stumbling block into which we have all fallen at one time or another: the faulty judgement, haste, fear, anger, the incessant need for control and security and making the wrong decisions. Don't you dare say you've never made any of these mistakes?

Open: new perspective from which to see If we fall, we injure ourselves more or less intensely and are inclined to judge that fall, to consider the error as a result due to the expectation we have of ourselves and other people. The injury is actually the point that we are able to are able to see the truth. It is from here that we stop taking refuge in the idea of perfect (which should be the case if it would not be a problem) and examine what's broken: we look through the wound and examine ourselves.

Fontana cut with the awareness that breaking and opening is and tearing since destruction is often the strongest creative action, and especially in a world in which, http://b3.zcubes.com/v.aspx?mid=10148947 even from a young age, we are immersed in a strong, impregnating systems of values and beliefs. It's no accident that Fontana said in 1963 in the course of an interview Nerio Minuzzo that:

„The people who criticize me have often been a slam on me, but I have never was concerned about it. I went ahead anyway and I never took the salute of anyone. In the past, they called me 'the one that has the holes', with some pity even. However, today I can see that my cuts and holes have been a hit and are widely accepted. They even find practical applications. In theatres and bars, they have ceilings made of holes. Since, today that even people on the street understand the new designs. It is the artists that are the ones who know less '.

When Fontana refers to street people, he is evoking the idea of imperfection in which the form of the hole is like any other that the emergence of life takes place. Fontana isn't afraid of dirt nor of the violent nature of creative expression: he throws tar on a plaster sculpture of a man , and names the piece „Black Man“.

The cut is transformed into the conquest of space, in the form of an overthrow of sculpture and painting through a new spatiality that combines both a break from verticality in favour of a crossing passage.

This palpitation, inhaling and exhaling of the canvas, is , from afar, reminiscent in a more intellectual and bourgeois way of the work Gina Pane would later perform on her body: the gesture remains the eternal character in the context of the art will eventually be destroyed; the cuts and wounds are the path, boundary and exchange. The artist opens the canvas and declares it to be finite. the holes become black holes that give depth and make us perceive the infinite that we will never know.

Wait: we are discovering new things that we do not yet know Fontana named the cuts „Waits,“ openings that allow new and different things arise that we do not yet know.

When we make a mistake, when we hurt or injure the other injuring or hurting another, we need to wait for a time before the reaction. First the shock of the error and the failure to be overcome, after that, finding out the best path to take to compensate or avoid it and then waiting for the consequences of that break or error, which could be a brand new and great resource. It could also be a waste of time.

Many people do not understand (and are able to comprehend) this concept because they constantly judge the way that human beings and reality should be, too used to the two-dimensionality on the wall. We continue to defend every inch of our being the best ways, the best method of presenting and being in society, so much so that we resort to standards that end up defining normativity.

There is nothing more absurd than this. In our belief that we are experts and everything, we apply our standard to every other organism and ecosystem around the globe However, we are looking at it from a narrow and biased viewpoint that has nothing to do with reality: Anthropocentrism as well as individual interpretations of the other that are almost never the most accurate.

Accept that there is no perfection in the absolute sense. This also applies to our society, which demands to be the best every chance they get, without considering that, instead of increasing standards, we need to accept more of things just as it is. Do we accept pain? Do we accept death? Do we accept the bodies of others? Do we accept diversity? Most importantly, after we accept, do we honor our diversity?

Most of the time is it that we are able to hide the things that do not match the „perfect“ nature of our very own planet or universe. This causes us to be horrified, angry, and irritated and covered up and then we show our imperfections, which we really are, but we refuse to accept it.

Understanding one's own limitations is important as is recognizing the interconnectedness of all that is the world system: either we are ALL placed in a position to give our best, or there's no competition or effort worthwhile to be put into it, unless for the motive of increasing inequalities. It's great and good to know that some after much effort have made it, as have those who have been so fortunate. But in the broader sense, constantly stretching the boundaries a little further it's a perfect' in an impermanent' context; no 'Perfection' in the absolutist sense.

Can this be a reality?

Cut and let the truth be revealed We can say that Fontana attempted to do so, since from the beginning, Fontana resisted the straightforward ways to be successful, opting instead to explore the unknown and the uncertain, that is to say, he renounced the notion of being the only one and following the path of study that led him to uncover some facts.

For me, and in my personal opinion, Fontana is the one who tears open the veil and allows the light through, even if there are black sails that obscure behind the cuts. A spatial artist in the same way as one of the forerunners of that art understood not just as a piece of work, but as a gesture, an act, in and around it. in the context of actions on space, performance as the activation of narrative, which is a large part of what is practiced in the present.

His cuts are a great example of these, opening new perspectives to art and new perspectives on the world , and new questions. The wound that he has caused is more than just pain: the wound highlights mortality, brevity, uncertainty and fragility. A wound can make us think and makes us think how we can improve our lives, and this practice is very important to ensure that we remain grounded. As hard as it is to endure and as hard as it would be in a perfect story of life it would be wonderful (and right) to learn only by positive reinforcements. So long as we as a society do not want to be a part of each other's suffering as much as our own, we are bound to remain in the unsolved and incomplete reality.

So let's enjoy the cinema and its happy endings its perfection so taken as a given and which we take as a template for our lives as the visual arts, however, are the daughters of suffering, and any artist who wishes to convey a bit of truth, has had to go through the pain.